- yesterday
Holbein's Skull
By Martyn Wade
A deliciously funny play about art, relationships and sexuality. It just happens to have taken place in London a few hundred years ago.
Hans Holbein, an up-and-coming artist, is about to begin work on his painting The Ambassadors.
Cast:
Jean de Dinteville ..... Jack Farthing
Georges de Selve ..... Sam Alexander
Margery Horsman ..... Lauren Cornelius
Hans Holbein/King Henry VIII ..... Clive Hayward
Produced and Directed by Tracey Neale
Drama
First broadcast: Thu 5th Apr 2018
14:15 on BBC Radio 4 FM
Hans Holbein's painting, The Ambassadors, is one of the star attractions in London's National Gallery and the writer, Martyn Wade, has taken a peek behind the painting to find an imaginative solution to the enigma that surrounds it. There are two young men in the picture but there are so many other items portrayed - it seems overloaded with potential meaning. So let's go back to London a few hundred years ago.
Jean de Dinteville and Georges de Selve are the two Ambassadors. Hans Holbein is the up-and-coming artist on his second stint in London. Margery Horsman is a lady-in-waiting to Anne Boleyn - who takes a shine to Jean and is always at the ready with a good idea.
Jean is in England to try and persuade King Henry that his actions regarding Anne Boleyn will jeopardise relations with France but by the time he arrives in London this is Diplomatic Mission Impossible. When Holbein agrees to paint Jean and Georges's picture he has an intriguing suggestion. But things don't quite go according to plan. How did the painting end up with so many eye catching artefacts?
This fresh, sharp and witty drama zips along with its imaginative take as to why that might be.
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By Martyn Wade
A deliciously funny play about art, relationships and sexuality. It just happens to have taken place in London a few hundred years ago.
Hans Holbein, an up-and-coming artist, is about to begin work on his painting The Ambassadors.
Cast:
Jean de Dinteville ..... Jack Farthing
Georges de Selve ..... Sam Alexander
Margery Horsman ..... Lauren Cornelius
Hans Holbein/King Henry VIII ..... Clive Hayward
Produced and Directed by Tracey Neale
Drama
First broadcast: Thu 5th Apr 2018
14:15 on BBC Radio 4 FM
Hans Holbein's painting, The Ambassadors, is one of the star attractions in London's National Gallery and the writer, Martyn Wade, has taken a peek behind the painting to find an imaginative solution to the enigma that surrounds it. There are two young men in the picture but there are so many other items portrayed - it seems overloaded with potential meaning. So let's go back to London a few hundred years ago.
Jean de Dinteville and Georges de Selve are the two Ambassadors. Hans Holbein is the up-and-coming artist on his second stint in London. Margery Horsman is a lady-in-waiting to Anne Boleyn - who takes a shine to Jean and is always at the ready with a good idea.
Jean is in England to try and persuade King Henry that his actions regarding Anne Boleyn will jeopardise relations with France but by the time he arrives in London this is Diplomatic Mission Impossible. When Holbein agrees to paint Jean and Georges's picture he has an intriguing suggestion. But things don't quite go according to plan. How did the painting end up with so many eye catching artefacts?
This fresh, sharp and witty drama zips along with its imaginative take as to why that might be.
Do you enjoy the variety on Oldtuberadio?
Like, Share and Subscribe to be notified of our new shows
#radio #crime #thriller #drama
To Support this channel please visit
https://www.buymeacoffee.com/oldtuberadio
https://ko-fi.com/oldtuberadio98
https://www.patreon.com/oldtuberadio
https://locals.com/Oldtuberadio
Category
😹
FunTranscript
00:00Holbein's Skull by Martin Wade
00:13Londres, 1533, le mois de ferrier, et il fait froid, wet, and miserable.
00:23I'm in the Palace of Whitehall. I'm on a diplomatic mission.
00:26My king, King Francis of France, is anxious about the political consequences
00:32which might result from King Henry's relationship with Anne Boleyn.
00:35Ambassador!
00:36Ah, yes, greetings.
00:38I've been counting the days, the hours.
00:42What a huge delight it is to feast upon your face again.
00:46You're too, too kind.
00:47I met this woman briefly on my visit to London last year.
00:51She thrust her affections at me and somehow decided that I was similarly attracted towards her.
00:55How long can you stay this time? Months and months, I hope.
00:59Years, perhaps.
01:00Years? No, no, no.
01:02I've missed you terribly.
01:04And you never apply to my numerous tender and most affectionate letters.
01:09Oh.
01:10Oh, don't tell me they never reached you.
01:12Very well, I won't.
01:13You're a poor correspondent, sir, but you're honest at least, and I forgive you.
01:18The woman's name is Marjorie Horseman.
01:21She combines her overbearingly amorous attitude with a somewhat ordinary physical appearance.
01:27Previously, she was lady-in-waiting to Queen Catherine, but in present times, she attends upon the Berlin Woman,
01:32who is Queen, it seems, in all but name.
01:34You have an appointment with His Majesty this afternoon.
01:37I do, upon the hour, very, very soon, in fact.
01:40Matters of more personal interest, we shall postpone till another occasion.
01:44Yes, that is...
01:45But now, before you see the King, I shall offer you a brief word about the situation here.
01:50Let me be thoroughly, comprehensively, indispensable to you.
01:55His Majesty has married Anne Boleyn in secret.
01:58Ah.
01:59Actually, it's not that much of a secret.
02:01Everyone at court seems to know.
02:02But since it's still meant to be a secret, I wouldn't refer to it in your meeting.
02:07Oh, I'll try hard not to.
02:09You're French now, by the way.
02:10Very fluent.
02:11Oh, thank you.
02:12Another thing you shouldn't mention yet.
02:14The new wife hasn't been feeling terribly well recently.
02:17In the mornings.
02:19And she's developed a furious hankering for apples.
02:24It will be a boy.
02:25The astrologers say so.
02:27Oh, heavens.
02:28Time I was off.
02:29Yes.
02:29I trust that what I've confided to you will be of immeasurable use.
02:33I'm sure it will.
02:35Francis, your King, would like, I suppose, to urge King Henry, through your services,
02:40not to act in any way precipitate.
02:42Not to rush into invalidating the present Queen, Queen Catherine, and proclaiming a new one.
02:47Yes, well then...
02:48Though between ourselves, Ambassador, how can King Henry avoid a desire to hurry the great matter along,
02:54given his current state of bigamy?
02:56Your King, it seems to me, is in a difficult position.
03:01He wishes to remain an ally both of Henry and of the Pope, but he knows that the Pope is reluctant to give approval to Henry's actions.
03:11To achieve any success, Ambassador, you'll have to employ all your diplomatic skills.
03:17You're right.
03:17I ought to be prompt, at the very least.
03:19Nice to see you again.
03:20It's been a thrill.
03:21And there's so much more to look forward to.
03:23You're residing at Bridewell, I assume?
03:25Er, yes.
03:26I'll call on you, at the earliest available opportunity.
03:30Until then, give me your hand.
03:33Oh.
03:34Oh.
03:35Yeah.
03:36Goodbye.
03:38Oh.
03:38I break free, up last, and hurry to the audience chamber.
03:45I'm late.
03:45I grovel my apology.
03:47King Henry makes his position clear.
03:49Anne Boleyn will be his queen, very soon.
03:51And King Francis of France should give his support to this welcome development.
03:55Ah, I forget the lines that I've rehearsed, and in my eagerness to avoid references to bigamy and babies, I improvise most ineptly on the theme of caution and restraint.
04:05Ah, yes.
04:06Enough.
04:07We thank you.
04:08We are, however, quite unmoved.
04:11The meeting quickly ends.
04:12Shame-faced, I return to my apartment.
04:15Oh.
04:16Failure.
04:18Diplomacy at its worst.
04:19I'm no use in the ambassadorial line.
04:22Nor to be truthful in any line at all.
04:27Utterly hopeless.
04:28Lacking in moral fibre.
04:29With Mistress Marjorie, for instance, I was exceedingly feeble.
04:34I ought to have made it quite clear, to save disappointment on her part and annoyance on mine, that she doesn't mean a thing to me.
04:40And that whatever she supposes took place when we met, briefly, last year, she must have invented it.
04:46As it is, I permit her to take my polite smile at considerably more than face value.
04:50I encourage her to believe that my sole reason for accepting this unfortunate diplomatic mission is to indulge in intimate relations with her.
04:58Gloom.
05:03Rain.
05:04On and on.
05:05I feel the damp in my bones already.
05:08The chill.
05:10England ought to be closed down.
05:11It isn't fit for human habitation.
05:15If only my friend Josh herself were here.
05:19We could complain about the rain together.
05:21A trouble shared, they say.
05:23Ambassador!
05:25Ambassador!
05:26Mistress Marjorie stands bedraggled beneath the window.
05:35Yes?
05:36I called on you, as I promised I would, at the earliest opportunity, but was told at the door three times that you were out.
05:45Shocking weather, is it not?
05:47Shocking.
05:49May I come in?
05:50She is admitted.
05:52She is extremely keen to get out of her wet things, but is eventually persuaded to remain soaked and decent.
05:57Coming here, unaccompanied, you must surely risk some damage to your reputation.
06:01No doubt.
06:03But I don't care.
06:05Tell me, Ambassador, how went your appointment with the King?
06:09Um, I revealed no secrets.
06:11When will you meet him again?
06:12Weekends.
06:13In the meantime, you must find ways to occupy the empty hours.
06:17Listen, tomorrow I'll take the whole day off.
06:20Oh, that's very kind of you, but...
06:21We'll do whatever you like.
06:22Stay indoors and play games.
06:25Go sightseeing.
06:26Yeah.
06:26Shopping.
06:28Oh, have you thought about getting your portrait done?
06:31No.
06:32You should!
06:33Something to take back to your chateau and impress everybody.
06:37Hans Holbein.
06:38He's your man.
06:39You're familiar, are you, with his work?
06:41Holbein?
06:41Oh, yes, certainly.
06:43Marvellous eye for detail.
06:44He's a consummate artist.
06:45At his peak.
06:46The very topmost.
06:48Expensive, I imagine.
06:49Yes.
06:50Think of the prestige.
06:51Oh, it would be an awful indulgence.
06:53Absolutely.
06:54Treat yourself.
06:56You deserve it.
06:57She convinces me that I should see the consummate artist.
07:00Ever eager to place me in her debt, she arranges an interview with him and accompanies me to his studio.
07:04Master Holbein, I discover, is someone with whom it's far from easy to negotiate.
07:10Sit.
07:11If I may, Master Holbein.
07:12Sit.
07:14If I may.
07:15The ambassador is anxious to know.
07:17Before we progress any further.
07:18Exactly how much will it cost?
07:20For something, say, this high and this wide?
07:25Head and shoulders.
07:26I'll tell you, but I have questions also to help me, Herr Ambassador, build up your personality profile for the painting of the picture.
07:37By the way, this high by this wide, too small.
07:41Oh.
07:41And I like they stop, not head and shoulders.
07:44But in your case, Herr Ambassador, so as to do justice to your fine figure, what would you think about full length?
07:52Full length?
07:53Not sure.
07:54Is that question one?
07:54No, no.
07:55This is question one.
07:57Are you interested in astronomical and horological instruments?
08:02Well.
08:02Answer, please.
08:03They have fair uses.
08:04Then say yes.
08:05Yes.
08:05Wunderbar.
08:07Question two.
08:08Do you play the lute and the flute?
08:10I was taught the recorder when I was small.
08:12Good enough.
08:13Question three.
08:15Does death interest you greatly?
08:17I try not to let it.
08:18Oh, brave man.
08:19Question four.
08:20What is your motto?
08:22My motto?
08:22Given your evident obsession with the end of things, we'll say it's memento mori.
08:29Any objection?
08:30It's hardly original.
08:30Nor is death.
08:31Very well.
08:33What I propose is as follows.
08:39The portrait, as agreed, shall be full length.
08:42Forgive me, but...
08:43And it shall be six feet nine and a half inches high and six feet ten and a half inches wide.
08:49Six feet nine...
08:51Said picture shall present you as a man of learning and accomplishment, and shall include a celestial globe, a polyhedral sundial and other scientific instruments, and a lute and a case of flutes.
09:07Also, taking account of your motto, a skull, to remind you, should it be necessary, of the transience of things, is a skull to sit in a prominent position in the foreground of the painting, on a patterned floor very similar to the marble paving in the sanctuary of Westminster Abbey.
09:25The difficulty entailed in presenting such an elaborate pattern in the floor's perspective will afford a magnificent opportunity for me to display my painterly skills, as, of course, reveals the depiction of the various scientific and musical objects, and the skull.
09:43May I speak?
09:43If you wish.
09:44To avoid any confusion, Master Holbein, what I'm looking for...
09:49The ambassador wants something relatively simple.
09:52And also...
09:53Significantly smaller than almost seven feet square.
09:56And not too...
09:57Expensive.
09:58And I was rather thinking that it should be a memento of me, not a memento mori.
10:03What if I were to suggest, insist on, in fact, a head-and-shoulders portrait, without celestial glow, polyhedral sundial, lute and flutes, and most especially, without the skull?
10:16If you did suggest it, Herr Ambassador, such a picture would be considerably less interesting than what I envisage, and it would never be painted, not by me.
10:25Your choice.
10:26Take it or leave it.
10:31I won't be bullied.
10:32Quite quite.
10:33A straightforward head-and-shoulders job, or nothing.
10:36Of course, I wasn't sure I wanted to be painted in the first place.
10:39You rather talked me into it.
10:40Played on my pride.
10:42Master Holbein is a consummate artist.
10:44We can all agree on that.
10:45And he hopes to become painter to the king, so he's keen to show up his prodigious talent.
10:50Precisely.
10:52One ought to display one's prodigious talent if one's blessed that way.
10:56But the fact is...
10:56He's rather too German.
10:59Insufficiently prepared, one might say, to be accommodating.
11:02He's quite wrong.
11:04I'm not a man of learning and accomplishment.
11:05Nor, if I can help it, do I want to brood on death.
11:09Death's like life.
11:10It's no joke.
11:12Days pass.
11:14To ward off Mistress Marjorie for a while, I tell her that I'm feeling poorly.
11:17I'm not enough.
11:19I'm not enough.
11:22Forgive me, Mistress Marjorie, but you can't come up.
11:26Why?
11:26What's happened?
11:27I'm not well.
11:29It's...
11:29It's Tertian fever, I believe.
11:31I stay in my apartment.
11:36In time, I persuade myself that I'm not well.
11:38Tertian fever, most likely.
11:40Also, I'm in a moping mood.
11:43I'm very tired.
11:44Thanks to Holbein and his skull, I've had one of my stay-awake-all-night-thinking-that-death-isn't-fair sessions.
11:50I need help.
11:52I need the presence of someone sympathetic and agreeable.
11:55I need Georges de Selve, Bishop-Elect of Lavour.
11:59I'll write to him.
12:01Yes.
12:02My dear friend, I'll say.
12:03Rain, damp, Tertian fever, morbid thoughts.
12:06Wish you were here.
12:10I write the letter.
12:11Dear Bishop-Elect.
12:13I make no mention of weather conditions, infirmity or melancholia.
12:16I suggest to de Selve that if he were to join me very soon, he'd be of great help in my diplomatic mission.
12:23There are, I tell him, religious as well as political issues which should be put to King Henry.
12:27And he, de Selve, might offer invaluable service as a sort of auxiliary ambassador.
12:35Yours, pleadingly, etc.
12:39There. That should do it.
12:41Three days later.
12:42Mon cher de Selve.
12:46Mon cher de Denteville.
12:48Pleasant trip.
12:49Nasty weather, but, uh...
12:52It's brightened up now.
12:55Yes.
12:56Yes, it has.
13:00Ah, very nice.
13:02Oui, c'est très bien ici.
13:04I'm just along the corridor.
13:05You'll be happy here, Jesper.
13:07One always tries to be happy.
13:08And one fails so often.
13:10Tell me, Denteville, what have you planned?
13:14What is it you hope from me?
13:15Well, companionship, brotherly feelings, some short-term relief from loneliness and misery.
13:22However, I keep such thoughts to myself.
13:24The situation's very difficult.
13:26I've spoken with King Henry but made no impression.
13:29He's married the Berlin woman.
13:31Did it in secret?
13:31Yes, I know.
13:32He wants the marriage to Queen Catherine to be annulled, and his new wife, who is going
13:37to have a baby.
13:38Yes, I know.
13:38Henry wants this new wife crowned queen.
13:40Yes.
13:41So the hopes that King Francis nurtured of maintaining an alliance with England while
13:44keeping on good terms with the Pope, they look slim.
13:47But Henry, even at this late hour, might be open to arguments on religious and ecclesiastical
13:53grounds.
13:54Precisely.
13:55He might be persuaded against taking any overt, hasty, drastic action that would infuriate
14:01his holiness.
14:03Moderation is required.
14:04Discretion.
14:06Bon.
14:07Voyons.
14:07On the day of my next appointment with King Henry, Bishop-elect de Selve accompanies
14:12me to Whitehall.
14:13Eh bien, what's the form?
14:16Shall we go in together?
14:17We shall.
14:18I'll introduce you, list your credentials, he'll be impressed.
14:21He knows his Bible, I'm told.
14:23He does.
14:23You and he will get along famously.
14:25The line I thought I'd take is that, though I belong to the Catholic Church, I have considerable
14:29sympathy with King Henry for being critical of Rome.
14:32Good.
14:32Myself, I see much in the Church that requires reform, particularly in respect of the covetousness
14:38of its priests.
14:39Their ambition, corruptibility and thieving, their irreligiosity.
14:44Good.
14:44I'm not surprised, I'll tell him, that there have been dissensions and divisions, heresies
14:49and schisms and Martin Lutherisms and so on.
14:52The fault, however, lies not with the Church itself, but with its practitioners.
14:56Good.
14:57What does the one true universal Church mean?
14:59It means the one true universal Church, and Henry, as defender of the faith, should think
15:05very carefully before leaving it.
15:07Excellent.
15:07Excellent.
15:08Ready?
15:09We present ourselves at the door of the audience chamber.
15:12Oh, the shame, the shame.
15:16Bishop-elect herself is refused admission.
15:18I've ignored diplomatic protocol.
15:20I've neglected to inform the King in advance.
15:22I've informed no one, in truth, least of all the guards at the door, that I wished the
15:26Bishop-elect to join me as my fellow ambassador.
15:30Without the Selve, I'm quite unprepared.
15:32My attempt at conversation with King Henry stumbles into disaster, and he begins to raise
15:38his voice at me in a most unpleasant fashion.
15:40Let your King abandon us!
15:43Let the Pope threaten us with excommunication!
15:46We are resolved!
15:48When I emerge from the chamber, the Selve is gone, but Mistress Marjorie, of course, is
15:54lying in wait.
15:56Ambassador, you seem out of sorts.
16:00Did the meeting not go well?
16:02Not very well.
16:04Or if you wish to talk about it, unburden yourself.
16:07I don't.
16:07Thank you all the same.
16:08By the way, who is the gentleman I glimpsed you with earlier?
16:12He's a bishop.
16:13A bishop?
16:14Well, nearly a bishop.
16:15Too young to take office, so he dresses in civvies.
16:17Is he a friend?
16:18Probably not.
16:19Not now.
16:20Will you excuse me?
16:21I have an abject apology to me.
16:26My dear fellow, please.
16:28What a fool I am.
16:29What a fool.
16:30It's not important.
16:31But you came over to England specially, and at short notice, and you thought very carefully
16:35about what to tell the King.
16:36Dantaville, don't distress yourself.
16:38What's happened doesn't matter.
16:39I'm delighted to be here.
16:41Really?
16:41Really.
16:42Well, I'm really delighted too.
16:45I've been really delighted ever since you agreed to join me, which perhaps goes some
16:49way to explaining, though not condoning, my bureaucratic bungle.
16:52You made me forget my responsibilities.
16:55So, you're not planning to go back tomorrow?
16:57No.
16:57Nor the day after.
16:59I can't promise that the King will want to see you.
17:00Don't mind.
17:01Truly, I don't.
17:03He smiles.
17:04He looks at me with his engaging brown eyes.
17:06I smile back.
17:07I've neglected to tell you.
17:09I've been planning to have my portrait painted.
17:12Oh, yes.
17:12By Hans Holbein.
17:14Hans Holbein?
17:15Consumate artist.
17:16Oh, there's none better.
17:18Very German, unfortunately.
17:20It's been hard, I've found, to get things into his rather thick skull.
17:24Complications have arisen, points of difference, a clash of cultures in part.
17:28But also, I've begun to tell myself, Dantaville, this is nothing, surely, but a vanity project.
17:33A vanity project?
17:34Nonsense.
17:35The picture wouldn't be for you alone.
17:37It'd be treasured by your family and your friends, me included.
17:41A great gift of posterity when you've departed this world.
17:44When I've departed this world?
17:46Oui.
17:49On the same principle, though, Master Holbein should paint your portrait, too.
17:53Mine?
17:54Can't afford it.
17:55I'll pay.
17:56Oh, no, no.
17:57I wouldn't let you.
17:58Besides, I doubt if you can afford it either.
18:00He's right.
18:01I can't, but I've already decided to request funding from King Francis so as to cover expenses
18:06incurred by the Berlin woman's forthcoming coronation.
18:09Why not inflate the costs in order to help pay for a couple of Holbeins?
18:12I inform the bishop-elect of this scheme and find him gratifyingly unperturbed by its naughtiness.
18:19I think it's a splendid idea.
18:22Let's visit Master Holbein.
18:24As we make our way to Master Holbein's studio, I mention the paraphernalia that the consummate
18:29artist is anxious to include in my portrait.
18:31A sundial and other scientific instruments, and a lute, and a case of flutes.
18:36Also, a skull at my feet.
18:38At your feet?
18:39Ah, oui.
18:40Forgot to mention, he wants to go full length.
18:42Is that necessary?
18:43No, it's not.
18:44Not at all.
18:45We'll be firm with him.
18:46And forthright.
18:47A couple of head-and-shoulders portraits, please, Master Holbein.
18:50And without the still life.
18:51Question three.
18:56Master Holbein.
18:56Which institution promotes the true gospel of Christ?
19:00Master Holbein.
19:00Is it A, popishness, or B...
19:03We want to make it clear.
19:04A church which is founded on the principles led down by Martin Luther.
19:08No clutter in either portrait.
19:09Answer the question.
19:10And especially no skull.
19:11Is it A or B?
19:12Well, my view is this.
19:15There is one true faith, that which was delivered unto the saints.
19:18Quod semper, quod ubiqui, quod ab omnibus creditum est.
19:22What requires reformation is not the doctrine proclaimed by the Catholic Church,
19:26but the conduct of her practitioners.
19:28You have opted for A, popishness, viz qualifications.
19:32So, in your portrait, Herr Bishop-Elect,
19:35I propose to paint a crucifix in the top left-hand corner.
19:39A very small cross with a very small Jesus attached,
19:43peeping out from behind a curtain.
19:44No.
19:44But also, to signify your open-mindedness
19:49and potential willingness to participate in inter-denominational dialogue,
19:53you'll be shown in close proximity to a Lutheran hymn book.
19:57No.
19:57A very small Lutheran hymn book.
20:00What do you say?
20:01Also, a skull.
20:02No.
20:02No skull, no Lutheran hymn book, no crucifix.
20:05And no skull for me, thank you.
20:06No clutter, no skull.
20:07We're being firm with you.
20:08But I'm rather keen on the skull.
20:11I want the skull.
20:13In the midst of life, gentlemen, we are in death.
20:18When Adam and Eve were in the garden, death was present also.
20:23Death does his dance with plowmen and peddlers,
20:26with kings and queens, merchants and monks,
20:29popes and bishops, and bishops-elect, and ambassadors.
20:33Yes, yes.
20:33Death, you're absolutely right, of course.
20:35Nevertheless, no skull.
20:37A very, very small one, Herr Ambassador.
20:40On a badge.
20:41On your cap.
20:42Which will be worn at a jaunty angle.
20:43No.
20:45Take it or leave it.
20:47Here's an idea.
20:48I paint the two of you.
20:50Head and shoulders only.
20:52But when one looks at each picture from the front,
20:55all is distortion.
20:56Nothing is understood.
20:57Go to one side, however, and hey, Presto, the image becomes clear.
21:03The technical term for this effect is anamorphosis.
21:06Yes, but why?
21:08It's Greek.
21:08I mean, why would we want to do such a thing?
21:11Why choose to view a portrait side on?
21:12So you can admire it.
21:15Regard it as a work of great skill and ingenuity.
21:18Yes?
21:19No.
21:19To sum up, one portrait of you, Herr Bishop-Elect,
21:25one portrait of you, Herr Ambassador,
21:28each to be viewed from the front.
21:29Correct.
21:29Each to be full-length.
21:31No.
21:31It was agreed, was it not?
21:33No.
21:34It was not agreed.
21:35The cost will be prohibitive.
21:36Very well.
21:38A compromise.
21:39Full-length portraits, but without any accompanying objects.
21:43Even, Herr Ambassador, without a very, very small skull on a badge
21:47attached to a jaunty cap on your head.
21:49No, we don't want full-length portraits.
21:51I feel a strong desire to paint them, though.
21:55Got in.
21:55Hear me what is wrong with your people.
21:57No, no, no to every suggestion.
22:00This would be interesting.
22:01No, this would look artistic.
22:03No, no, no, no.
22:05It's the constant refrain.
22:06We're sorry.
22:07Yes, sorry.
22:08Time masters.
22:09Freaking French philistines.
22:10We'll wish you goodbye, then.
22:15Yes.
22:17Goodbye.
22:18A final offer?
22:20Well?
22:21A double portrait.
22:22One painting, but with two likenesses.
22:25For length.
22:26No clutter.
22:28No skull, alas.
22:29What do you say?
22:31What do we say?
22:32We say...
22:34Yes!
22:35Happiness and handshakes all round.
22:37When I'm next detained by Mistress Marjorie,
22:38she's quick to interrogate me.
22:41A double portrait?
22:42Full length.
22:43You and the bishop-elect?
22:45Just so.
22:46We very much like the idea.
22:47With it being the two of us together,
22:49it smacks rather less of the vanitas vanitatum and so forth.
22:52I'll keep the painting, since I'm paying for it,
22:54but the bishop-elect will be able to see it whenever he wants.
22:57Often, I hope.
22:58Ambassador?
22:59We've been choosing what to wear in the picture.
23:01For the bishop-elect, a gown that's sober, but not inexpensive.
23:05Damask, brocade.
23:06I'll be in what I've bought for the coronation.
23:08Pink satin doublet, black surcoat lined with ermine, colossal shoulder puffs.
23:13Master Holbein approves.
23:14Oh, good.
23:15Ambassador...
23:16You'll be pleased to know that all in all,
23:17despite the difficulties in diplomacy,
23:19life seems somewhat sunnier.
23:21Farewell for now, the dumps and dismals.
23:25Ambassador?
23:26Mistress Marjorie.
23:27May I offer some advice,
23:30as someone who is rather more than a dear friend?
23:34This portrait, this double portrait,
23:38consider the implications.
23:41Imagine what those who look at the picture,
23:43colleagues, family, people of note, will think of it.
23:46Sorry, don't quite understand.
23:48You, a fine, handsome young man,
23:52good physique, well turned out...
23:55Oh, please, you hyperbolise.
23:57Alongside you, another young man,
24:00in no way as striking in appearance as yourself.
24:03Oh.
24:03But not, some will say, unprepossessing.
24:06No, no, indeed.
24:07Now, Ambassador,
24:08my knowledge of the conventions of imagery
24:11employed in works of art is quite limited.
24:14I claim no expertise,
24:15but common sense tells me
24:17that when a likeness is made of two people in the same picture,
24:21the beholder is bound to assume some relationship between them,
24:26father and son...
24:27Yes.
24:27...brother and sister...
24:29Yes.
24:29...man and wife, bedfellows.
24:32Yes.
24:35Yes.
24:36Do you see what I mean?
24:37I hurry back to Bridewell Palace
24:39and convey to the Bishop-elect
24:40something of what Mistress Marjorie has hinted.
24:43You see what I mean?
24:45People might construe that the portrait's making a statement
24:48about our feelings for each other.
24:50Of course, we do have feelings for each other.
24:52Of course.
24:53There's a deep regard between us,
24:54bordering on fraternal affection.
24:56But...
24:56It doesn't go beyond that.
24:57Precisely.
24:59The idea that we should be represented in the same picture...
25:01That was Master Holbein's, not ours.
25:03We liked the notion
25:04because it seemed to sever the Gordian knot,
25:06kept Master Holbein reasonably happy
25:08and wasn't too damaging financially.
25:10That's all.
25:11So...
25:12What's the appropriate next step?
25:15We could just say
25:16we don't give a fig for public opinion.
25:18We refuse to be intimidated by prejudice and bigotry,
25:21especially when what's aroused such prejudice and bigotry
25:24doesn't apply to us anyway.
25:25We're friends, just friends.
25:26We've been just friends for some years.
25:28We're proud of our association with each other.
25:30We're like Roland and Oliver.
25:31David and Jonathan.
25:33Harmonious and the other fellow.
25:35Aristogiton.
25:37They were lovers, in fact.
25:38Oh, well...
25:39They were friends first, perhaps.
25:42Friends first.
25:43Yes.
25:46Yes.
25:48On the other hand...
25:50Precisely.
25:50We each have a career.
25:52And we have our reputations.
25:53If we were to be deprived of these...
25:54What would we be left with?
25:56Well, each other.
25:56True, which would be a great comfort to us.
25:58But even so...
25:59That night, separately, we sleep on it.
26:07The following morning, we come to an agreement.
26:10In my view...
26:11On balance.
26:11Marvellous as the prospect of a double portrait assuredly is...
26:14The attendant risks...
26:15On balance...
26:16They're too great.
26:17...will cancel the order.
26:18Are we so resolved?
26:20We are.
26:21It's a shame.
26:21It's too bad.
26:22Nevertheless...
26:23Nevertheless.
26:25That's right.
26:25We congratulate ourselves on our brave decision.
26:28Wasn't easy.
26:28We're disappointed.
26:30We're relieved.
26:31But within the half hour...
26:33Greetings, gentlemen.
26:35Oh.
26:36Greetings.
26:36Greetings.
26:37Did we arrange an appointment?
26:39I'm ready.
26:40I have sketchbook.
26:40I have pencil.
26:41By the way.
26:42You first, Herr Ambassador.
26:44Actually...
26:44Very well.
26:45The Bishop-Elect it is.
26:46You may be seated, Herr Bishop-Elect.
26:49I'm drawing your face only.
26:50Actually...
26:51Sit.
26:53We decided...
26:55Quiet.
26:56Herr Bishop-Elect.
26:57Yes.
26:57While I draw, you may think religious thoughts, if you wish.
27:01Oh.
27:03Try and persuade yourself, for instance, that transubstantiation is nothing but a convenient
27:11metaphor that during Holy Communion, God's body manifests itself in a spiritual and mystical
27:19sense, and not as a flesh and blood of corporeal substance.
27:23I take it, Herr Bishop-Elect, that you wish to keep the beard and the rather sour expression?
27:31Oh.
27:32Mm-hmm.
27:35Oh.
27:36Good.
27:37The plan we had to inform Master Holbein that we no longer require his services disappears
27:42in front of our eyes.
27:45Das ist sehr gut.
27:47He completes the drawing in quick time.
27:49There.
27:49Done.
27:50We're all delighted with it.
27:51Excellent.
27:52Yeah.
27:52I think so, too.
27:53He orders in a beer and a plate of bratwurst.
27:55Danke schön.
27:56Oh.
27:57Mm.
27:57Herr Ambassador.
28:00Oh.
28:00Your turn, Dan de Ville.
28:02I sit.
28:03I pose.
28:04My intention is to appear confident and rather pleased with myself, on account of some improbable
28:09achievement in the diplomatic field.
28:11Are you smiling a smile?
28:13In a way.
28:14Call it a little twinkle around the lid.
28:17Or a sly smirk.
28:18He completes the drawing.
28:22We're all delighted with it.
28:23Das war's.
28:24He leaves.
28:26Auf Wiedersehen.
28:28Impressive, isn't he?
28:29Consumate artist.
28:31Very German, though.
28:34Once it's finished, we could hide it, I suppose.
28:37Put it in perpetual storage.
28:40We take a look at it from time to time on special occasions, anniversaries, and so on.
28:45Such a pity, though.
28:46A Holbein.
28:47Of us.
28:48But with only us to see it, on special occasions.
28:51Word would spread, you know.
28:53Salacious curiosity is bound to be aroused.
28:56What dreadful secret, people will ask, does the picture contain?
29:00What indecency?
29:02What grossness?
29:02It'd be worse off than if we put it on general exhibition.
29:07What if...
29:08Just a thought.
29:10Go ahead.
29:11What if we let Master Holbein have his way after all, regarding the still-life assemblage?
29:16What if we permit him to cram the picture with the celestial globe, polyhedral sundial, loot, flutes, and a multitude of other items, excluding the skull?
29:25Objects to distract the eye, confuse the issue?
29:30Not that there is an issue.
29:31Encourage debate on matters other than the nature of the relationship between Ambassador Jean
29:35D'Enterville and the bishop-elect Georges de Selves.
29:38It might work.
29:40It might.
29:41And think how delighted Master Holbein will be.
29:44You want the celestial globe and the polyhedral sundial?
29:48Yes, please.
29:49Along with as many astronomical, horological, and other scientific instruments as you can fit in, without inviting ridicule.
29:54Also, we want the lute.
29:55And the flutes?
29:56And the flutes.
29:57And the Lutheran hymn book.
29:58And the crucifix peeping out from behind the curtain.
30:00And the skull?
30:01No, not the skull.
30:03Yeah, in the foreground somewhere.
30:04And the very, very small one, Ambassador, on a badge attached to your jaunty cap.
30:09The small one, I'll permit, but not the skull in the foreground.
30:12Not the skull in the foreground?
30:14If you don't mind.
30:15As much as the other stuff, though, as you care to include.
30:17And perhaps, Master Holbein, you could also introduce one or two, or more, talking points.
30:23Provocative, enigmatic elements.
30:24Good ideas.
30:25Some annoyingly mystifying details which seem to demand interpretation.
30:29Symbols.
30:30Codes.
30:31Devices.
30:31Illusions.
30:32Suggestions of obscure iconography and significances to puzzle the onlooker.
30:36Obscure iconography and significances.
30:39I like this.
30:40Ja, wunderbar.
30:43The following day, on my way back from a brief meeting with the king,
30:45the best feature of which is that I'm not shouted at,
30:49I pay a call on Mistress Marjorie.
30:51Ambassador!
30:52What a delight!
30:53My purpose is to advise her of the most recent developments with the portrait,
30:56and to thank her for her wise words of warning.
30:59It's a more complex assignment now, of course,
31:01and consequently more expensive, but it'll be worth every penny.
31:04Oh, good.
31:05I'm so, so grateful.
31:06How shall I ever repay you?
31:08Make a suggestion.
31:10I could send you some flowers.
31:12Yes.
31:13And if we had an official unveiling of the picture,
31:15I could arrange an invitation for you?
31:17Yes.
31:18Nothing more?
31:21My dear Mistress Marjorie,
31:23let me be unambiguous.
31:24You're very kind,
31:26and you're very sweet.
31:28And?
31:29And your face is attractive.
31:33Your body has pleasing proportions.
31:36Go on.
31:36Many men, I'm sure,
31:37have fallen for your charms.
31:39Many?
31:39No, in truth.
31:40I have to inform you, though.
31:41There's been one or two,
31:43three at the most,
31:44but what use are they?
31:46It's you I desire.
31:48Well.
31:49Hold me.
31:49Well, then, I wouldn't want to...
31:50Do it.
31:51Oh, I...
31:52I wouldn't want...
31:52Tighter.
31:53In any way...
31:54Let me feel the hot breath from your nostrils.
31:56I wouldn't want to practise a deception on you.
31:58Kiss me.
32:00No, no, no.
32:01Kiss me.
32:03Importunately kiss me.
32:04Impolitely.
32:05Persure me.
32:06Excuse me, please.
32:08Appointment.
32:09I manage to make my excuses
32:10and escape Mistress Marjorie's vigorous clutches.
32:15The following day,
32:16De Selva and I visit Master Holbein's studio
32:18and are shown a sketch of the planned portrait.
32:22Celestial globe,
32:23cylindrical dial,
32:25universal equinoctial dial in two parts,
32:28quadrant with straight hour lines,
32:30also known as a horarium bilimbatum.
32:32Excellent.
32:33Marvellous.
32:34Polyhedral dial with hour lines on three visible faces.
32:38Excellent.
32:38And a torquatum.
32:40Marvellous.
32:40On the shelf below,
32:42terrestrial globe,
32:43a book of Aris medical instruction,
32:45this head square,
32:46lute,
32:47pair of compasses,
32:48Lutheran hymn book,
32:49case of flutes.
32:50Excellent.
32:50Marvellous.
32:51Splendidly diverting.
32:52As for enigmas and talking points and so on,
32:55I give the lute a broken string.
32:58See?
32:59Oh, yes.
33:00We ask as we look at the lute
33:02and notice the broken string,
33:04why is this string broken?
33:06What does it mean?
33:08Is it perchance a comment
33:09on the current European situation?
33:11Does it symbolize the breaking down
33:13of political harmony?
33:15Marvellous.
33:15Also,
33:16the flute case.
33:17Observe.
33:18One flute is missing.
33:20Huh?
33:20We want to know
33:21why is one flute missing?
33:23It's a reference,
33:24some might think,
33:25to current religious affairs.
33:27Contention,
33:28dissension,
33:28sedition,
33:29division,
33:29the church disunited.
33:31A constituent part
33:32has absented itself.
33:33A glaring space remains.
33:35Convincing,
33:36yeah?
33:37But then again,
33:38we can't be certain.
33:39Sometimes a missing flute
33:40is just a missing flute.
33:41Indeed.
33:42What perplexity,
33:44what mystery,
33:45altogether.
33:45Very well done,
33:47Master Holbein.
33:48Wunderbar.
33:49Agreed.
33:50You want more enigma still?
33:52By all means,
33:53more enigma,
33:53more talking point.
33:55I'm your man.
33:56As we leave the studio,
33:57the Bishop-elect's face
33:58and the weather
33:59cloud over.
34:02Jean?
34:03Yes?
34:04May I call you Jean?
34:05I'd be so pleased
34:06if you did.
34:07And I shall call you
34:08Georges.
34:09So pleased.
34:10Jean?
34:11Yes, Georges?
34:12It suddenly occurred to me.
34:14Here we are,
34:14taking elaborate precautions
34:16with regard to a painting,
34:17which will be marvellous,
34:18by the way,
34:19and worth all the trouble.
34:20But what about real life?
34:22What about real life?
34:24You and me,
34:25in London.
34:26Yes?
34:27Dwelling under the same roof.
34:29It's a very big roof.
34:31You and me, Jean.
34:32Together.
34:33And me, supposedly,
34:34in an ambassadorial role,
34:36but never seeing the king.
34:37Enjoying your company instead.
34:39And I'm a Bishop-elect,
34:40don't forget.
34:42Jean,
34:42I'm afraid it's got to stop.
34:45You mean,
34:46you intend to leave me?
34:47Go back home?
34:48A sensible measure,
34:48lest malicious tongues
34:49start wagging.
34:50I'm sorry.
34:52And so am I.
34:54But don't go very soon.
34:55Please.
34:56Not tomorrow.
35:01A drab, dull,
35:03Monday morning.
35:04The day after tomorrow.
35:09Six o'clock, Georges.
35:11You asked me to give you a call.
35:13Oh, oui.
35:15Much obliged.
35:16How did you sleep?
35:19Badly.
35:20May I sit on the edge of your bed?
35:22Please.
35:25I'm distraught you're going.
35:27Oh, I see.
35:28I can't predict when I'll be back in France.
35:30Not before the royal birth
35:31and the christening.
35:32Which will be months away.
35:33It doesn't bear contemplation.
35:35No.
35:36We could write to each other,
35:37of course.
35:37Yes.
35:38How often?
35:39Every other day.
35:40Every other day.
35:41Oui.
35:42And with regard to the painting,
35:44as soon as it's finished,
35:45I'll have it brought round here.
35:47And because of Master Holbein's clutter
35:49and enigmas,
35:50no one who sees it
35:51will think any inappropriate thoughts
35:52or make insinuations.
35:54And when I'm alone,
35:55I shall gaze upon your likeness
35:57and it will give me great pleasure.
36:00Georges.
36:01Yes, Sean?
36:02About the advice
36:03that Mistress Marjorie gave.
36:05Yes?
36:05I've begun to wonder.
36:06Yes, I've been wondering too.
36:08What if...
36:09What if we didn't simply
36:11seem to be
36:12rather more than dear, dear friends?
36:14But we really were.
36:16What if you and I...
36:19Is it so possible?
36:20Oh, Sean.
36:22Oh, Sean.
36:24Let me admit the truth.
36:25The real and pressing reason
36:27for inviting you here.
36:29It had nothing to do
36:29with my ambassadorial mission.
36:31I wanted you to be with me.
36:33I needed you.
36:34You called, I came.
36:36You came.
36:37Oh, Sean.
36:38I can hardly believe it.
36:40But you don't want me.
36:41Surely I'm a failure.
36:42Nonsense.
36:42I am.
36:43I'm entirely bereft
36:44of diplomatic skills.
36:46Doesn't matter.
36:47I'm useless.
36:47I'm here under false pretenses.
36:49I don't care.
36:49I'm a fraud.
36:50I'm a charlatan.
36:51Dearest Sean,
36:52if you are,
36:54so am I.
36:55Despite being a bishop-elect,
36:57despite exuding the odour of sanctity
36:58at the appropriate times,
37:00despite possessing very firm views
37:01on ecclesiastical issues,
37:03papal primacy,
37:04reform and so on,
37:05and being quite capable
37:06of working up
37:07as much odium theologicum
37:08as the next man,
37:09despite all this,
37:11I'm an unbeliever.
37:12My view is,
37:13if there is a god,
37:14he's opted for divine non-intervention,
37:16gone into retirement
37:17and left us to our own devices.
37:19But people like to have something
37:20to believe in,
37:21even if it's a superannuated deity,
37:23so they need a bishop
37:24to encourage them.
37:25And who knows?
37:27By the time I'm properly episcopal,
37:29vestments and crozier and whatnot,
37:31I might have experienced a conversion.
37:34I hope I've not shocked you.
37:36Not a jot.
37:37I call myself a liberal,
37:38humanist,
37:39rationalist,
37:40freethinker.
37:40I'm very open to radical concepts.
37:43At the river's edge,
37:45we bid each other farewell,
37:46as discreetly as we can.
37:48This is my barge.
37:51I do love you
37:52so very much.
37:54I love you
37:54with all my heart and soul.
37:57I can't wait
37:58until we're together again.
37:59Nor me.
37:59Though I suppose,
38:01given the prevailing climate
38:02of the times...
38:02No.
38:03You can't be too bold.
38:05Full disclosure
38:06is out of the question.
38:07We'll do visits.
38:08Carefully arranged,
38:09brief encounters.
38:10Unsatisfactory,
38:11we'll tell ourselves,
38:12but better than nothing.
38:14And we'll write to each other,
38:15as agreed.
38:16Every other day.
38:17Who'll write tomorrow?
38:19I will.
38:21So,
38:22it's time.
38:23I feel the touch of his hand
38:24on my shoulder.
38:26Farewell,
38:27Ambassador.
38:28Farewell.
38:29Bishop-elect.
38:30He steps into the barge.
38:34Adieu,
38:35or rather,
38:37au revoir!
38:41Gloom,
38:43alternating with comforting thoughts
38:44of frequent correspondence.
38:46Drizzle and intermittent sunshine.
38:49Time drags its leaden feet.
38:51I attend the Berlin woman's coronation.
38:54Three months later,
38:55a royal brat is born.
38:57The astrologers are wrong.
38:58It's a disappointing girl.
38:59I attend the christening.
39:01Not long after,
39:02Master Holbein sends me a note
39:03in very large,
39:05Gothic writing
39:05to announce triumphantly
39:07that the picture is finished
39:09and to invite me to have a look.
39:11Out of politeness,
39:12I take Mistress Marjorie
39:13with me to the studio.
39:15The painting is hidden
39:15by a velvet drape.
39:16Are you ready?
39:18I'm ready.
39:19Astonish me.
39:20In my excitement,
39:21I almost grab hold
39:22of Mistress Marjorie's hand.
39:24Master Holbein
39:25pulls aside
39:26the velvet drape.
39:27He astonishes me.
39:29He astonishes Mistress Marjorie.
39:32Good Lord.
39:33It's
39:34extraordinary.
39:36Yeah,
39:37you're right.
39:38The portraits themselves
39:39are superb,
39:40are they not?
39:41And there's such detail.
39:43So much for the eye
39:45to take in.
39:46Extraordinary.
39:47I agree with you.
39:49In
39:50the foreground,
39:52one can't help noticing...
39:54Yes,
39:55that curious,
39:57squashed,
39:58elongated blob.
39:59Yeah,
40:00the curious,
40:01squashed,
40:01elongated blob.
40:03Oh,
40:03I know what it is.
40:05Let me show you
40:06how to make sense
40:07of this curious,
40:08squashed,
40:08elongated blob.
40:09It's a...
40:10Quiet,
40:11Herr Ambassador.
40:12You're trying
40:13to spoil the fun.
40:15Mistress Marjorie,
40:16take a step or two
40:17to the right,
40:18if you will.
40:18You see where
40:19I have marked
40:20an X upon the floor?
40:21Yes.
40:22Stand there,
40:23if you please.
40:25For future reference,
40:26Herr Ambassador,
40:27the optimum position
40:29for viewing the blob
40:30is two feet
40:31seven inches
40:31from the right-hand side
40:33of the picture
40:33and four and a half inches
40:35at an angle
40:36of 90 degrees
40:37away from the wall
40:38on which the picture
40:39is hung.
40:40Bend a little
40:41at the knees,
40:41Mistress Marjorie.
40:43Eye level,
40:43Herr Ambassador,
40:44should be three feet
40:45five inches
40:46from the bottom
40:47of the picture.
40:48Oh!
40:50It's a skull!
40:51Yes,
40:52Mistress Marjorie,
40:53it's a skull.
40:54And for a skull,
40:55very lifelike, too.
40:57You couldn't resist,
40:58could you,
40:58Master Holbarheim?
40:59You had to have
40:59your own way.
41:00It's a talking point.
41:03You ask for a talking point,
41:05I give you one,
41:06a great big one.
41:07Oh, it's very clever.
41:09Very clever.
41:10I agree.
41:11An anamorphic triumph
41:13offering a sideways
41:15look at death.
41:18Herr Ambassador,
41:19this is your own
41:21special
41:22memento mori.
41:25A week or two later,
41:26my duties in London
41:27are deemed,
41:28at last,
41:29to be at an end
41:30and I'm given
41:30permission to depart.
41:32I feel obliged
41:33to call on Mistress Marjorie
41:34and bid her farewell.
41:36I'm sorry your mission
41:37has met with no success.
41:39So am I.
41:40On the bright side,
41:41however,
41:41I received a visit
41:42from my dear, dear friend.
41:43And, at my suggestion,
41:45you had your portrait painted.
41:47Along with my dear, dear friend.
41:49Yes.
41:50The picture, I believe,
41:52has caused quite a stir.
41:53It most certainly has.
41:55And for the most proper of reasons,
41:57such puzzlement and befuddlement,
41:58such intense speculation,
42:00so many muddling attempts
42:02to demystify.
42:03But as a painting,
42:04an artistic endeavour,
42:06in my opinion,
42:07it's failed.
42:09Failed?
42:10The curious,
42:11squashed,
42:12elongated blob.
42:13It spoils the whole thing.
42:14I mean,
42:14how is one supposed to manage?
42:15If one stands directly
42:17in front of the picture,
42:18one's annoyed
42:19by the excrescence
42:20that's hovering
42:21in the foreground.
42:21If one stands to the side,
42:23on the appointed spot,
42:24and sees that the excrescence
42:25is a skull,
42:27it's hard to make out
42:27very much else.
42:29It's a painting
42:29that only works
42:30if one can be
42:30in two places
42:31at the same time.
42:32Besides,
42:33who wants to look
42:33at a picture sideways on
42:34simply to be reminded
42:36of mortality?
42:37Despite the blob, though,
42:39you'll take the picture
42:40back with you,
42:40hang it on a wall
42:41in your chateau?
42:43Oh, yes.
42:44And when it's there,
42:45I'll view it straight ahead.
42:46Try to see beyond the blob.
42:49Master Holbein's
42:50managed your likeness
42:51splendidly.
42:52A beautiful rendition.
42:54As is that of my dear,
42:55dear friend,
42:56the bishop-elect.
42:56I should give up hoping,
43:00shouldn't I?
43:01You're very kind
43:02and very sweet.
43:03Yes, I know.
43:06I should never
43:07have hoped at all.
43:08I'm sorry.
43:09A man has to be
43:10what he is
43:11and so forth.
43:13Yes,
43:13but not too overtly.
43:15Not till the public
43:16attitude grows more favourable.
43:18I won't breathe a word.
43:20Your secret's safe,
43:21I promise.
43:21But tell me,
43:24Ambassador,
43:25do you suppose
43:26that you might
43:28have loved me,
43:29all other things
43:30being equal?
43:31Oh, yes.
43:32You would?
43:33Absolutely.
43:34I'm sure of it.
43:39Spoken
43:40like a true diplomat.
43:41In Holbein's Skull
43:48by Martin Wade,
43:49Jean de Danteville
43:50was played by
43:51Jack Farthing,
43:52Georges de Selve
43:53by Sam Alexander
43:54and Marjorie Horseman
43:56by Lauren Cornelius.
43:57Hans Holbein
43:58and King Henry
43:59were played
43:59by Clive Hayward.
44:01The director
44:02was Tracy Neal.
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